Abstract:

This article examines nineteenth-century melodramas that featured live animals, the abuse of which awakened in the audience feelings of commiseration and humaneness. By analyzing the work of playwrights in the line of Guilbert de Pixerécourt, Eugène Scribe, Edmond Rochefort, Ferdinand Langlé, Philippe François Pinel Dumanoir, Adolphe D’Enner y, Ferdinand La loue, Fabrice Labrousse, Théodore Barrière and Léon Beauvallet, among many others, we may better understand the path that both led to and followed the passing of the first law aimed at defending and protecting animals in France: the 1850 Loi Grammont. Some of the plays paved the way towards this legal shift, and some reflected its precepts in the aftermath of the act, stirring feelings of empathy towards animals amongst theatregoers. The ultimate objective of these plays was not the defense of animals per se (in the modern sense). However, their arousal of emotions linked to a Manichean spectrum of moral behaviors ranging from good to evil, their penchant for the triumph of virtue, and the pathos resulting from the verbal and physical abuse or, eventually, the (fictional) death of the animals in the melodrama, resonated with a shared feeling of humaneness that was integral to a reflection about what was considered beneficial for society. (In French.)

摘要：

这篇文章考察了以活体动物为主角的 19 世纪情节剧，对动物的虐待唤醒了观众的同情心和仁慈之心。通过分析 Guilbert de Pixerécourt、Eugène Scribe、Edmond Rochefort、Ferdinand Langlé、Philippe François Pinel Dumanoir、Adolphe D'Enner y、Ferdinand La loue、Fabrice Labrousse、Théodore Barrière 和 Léon Beauvallet 等剧作家的作品, 我们可能会更好地理解导致和遵循法国第一部旨在捍卫和保护动物的法律的路径：1850 Loi Grammont。一些戏剧为这一法律转变铺平了道路，一些戏剧在该法案的后果中反映了它的戒律，激起了观众对动物的同情心。这些戏剧的最终目标并不是保护动物本身（现代意义上）。然而，他们的情绪唤起与摩尼教从善到恶的一系列道德行为有关，他们对美德胜利的嗜好，以及言语和身体虐待或最终（虚构的）动物死亡所导致的悲伤在情节剧中，与一种共同的人道情感产生共鸣，这种情感对于反思什么被认为对社会有益是不可或缺的。（法语。）与一种共同的人道感产生共鸣，这种人道感对于反思什么被认为对社会有益是不可或缺的。（法语。）与一种共同的人道感产生共鸣，这种人道感对于反思什么被认为对社会有益是不可或缺的。（法语。）